Andy Frasco's World Saving Podcast - EP 129: Warren Haynes

Episode Date: June 22, 2021

In a skeezy motel somewhere in Nebraska, Andy sits down with good friend and new road buddy, Lyle Divinsky to talk about the past week of shows and what's in store this coming week. And on the Interview Hour we welcome one of the all-time greats, Warren Haynes! They talk about music and the hardships of life and loss. Shawn sings a nice little cover tune. Check out andyfrasco.com for new tour dates! This is EP 129. Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, the band and/or the blog, go to: AndyFrasco.com Check out Andy's new song, "Love Hard" on iTunes, Spotify  Follow the legend: warrenhaynes.net Shawn covers Noah Cyrus' song, "I Got So High That I Saw Jesus"  Produced by Andy Frasco Joe Angelhow Chris Lorentz Audio mix by Chris Lorentz Featuring: Brian Schwartz Lyle Divinsky Shawn Eckels Arno Bakker

Hey Schwartz, it's come to my attention that some of my peers and some other managers and management companies are sending you gifts and fruit baskets apparently to the shows and the venues. I'm glad to know about this. It's flattering. You can send them back. I'm glad to know about this. It's flattering. You can send them back. You can send those fruit baskets right on back to those management companies and say thank you, but we've got our own fruit. Later. Don't get all like a big head because other managers are sending you fruit baskets.

They send fruit to everybody. All right, and we're back. Andy Frasco's World Saving Podcast. I'm Andy Frasco. How's everyone's heads? Are you overworking yourself? Shit. I got Lyle Davinsky as my co-host today, buddy.

What's up, brother? How you doing? Man, I'm all right. I'm all right. Warren Haynes episode. What's up, brother? How you doing? Man, I'm all right. I'm all right. Warren Haynes episode. What's up, Warren? And Peach Fest. This is the next five weeks we have partnered with Peach Fest to talk about all the beauty that is Peach Fest.

I love that festival. When was the first time you played Peach Fest? That might have been, it was like my first or second year with the Motet. Really? Yeah. You guys played at a bunch. I felt like that's pretty good. Yeah, I played there like two or three times.

Yeah, I'm excited to get out there, get to the water park. I wonder if the water park's going to be open. I hope so. I hope so for all y'all's sake. How are you doing out here? Are you loving touring again? Yeah, man. Getting back at it?

It feels good. It feels real good. Trying to keep up with you boys a little bit we tried to do this uh podcast last night but we we had a couple yeah yeah yeah yeah it's take two it's got to be hard to open for an energetic band when you're when like deep down in your core you want to play all the soft stuff that's why om Omaha was such a great vibe for all of us, right? Dude, it was incredible. It was incredible. Like, yeah, I mean, I look at it as kind of a challenge, you know,

coming off of touring around with always having, you know, heavy, heavy party funk behind me to now just having an acoustic guitar. It's been pretty incredible, man. And, yeah, Omaha stepped up. They were, like, hanging off every word. It was incredible. It was tight, dude. It's been pretty incredible, man. And yeah, Omaha stepped up. They were hanging off every word. It was incredible. It was tight, dude. It's nice.

That's why I love that festivals are back, because everyone is stoked. Everyone's pumped up. We're going to have a great time, listen to music, get to hang out with my friends. Yeah. So go to the Peach Fest, July 1st through 4th. If you haven't got your tickets yet, I don't know if it's sold out or not, but we are going to do all these different bands from Peach Fest, July 1st through 4th. If you haven't got your tickets yet, I don't know if it's sold out or not, but we are going to do all these different bands from Peach Fest. Lyle's played Peach Fest, so it felt like it was safe and necessary

that we experience. Tell me about East Coast festivals, how they're different. Why are there so many, like, you know, I feel like all the jam bands and all those type of bands are from the East Coast. It is really interesting. What's in the vibe out there? What's in the water? I mean, maybe it has to do with kind of being closer together.

Yeah. Because everything, like, you know, everything is more, yeah, it's just closer together. Like, it's just closer together. It's more populous. And so you kind of have the opportunity to maybe meet more like-minded people or maybe get pushed in different ways. I don't know. That's something that I never really thought about. You grew up in Maine.

Sure. There was jam bands all over there too. Yeah, there were. There were. know sure there's jam bands all over there too yeah there were there were it was uh it was i actually to be honest in in maine i didn't really get introduced to a lot of the jam band scene because uh yeah you're more a soul guy well yeah but like i mean there was a there was much more of a soul funk scene in in maine when i was coming up there was like and kind of on the rock side of things too like there was rustic overtone so like that was ryan zoitus's old band um

and dave gutter who's an amazing songwriter but then there were just there was a lot of like emphasis on soul funk songwriting and and things that. So I didn't really get introduced to the jam band until kind of soul live into Lettuce. And then that became the gateway. So what were you listening to as a kid? I grew up on like 90s R&B and like Motown and hip hop and like the Laurel Canyon folk kind of stuff. How important are music festivals? I think they're incredibly important, and I think they've never been more important at this point.

Now that we're coming back and being able to... I think there's always been a gratitude that goes into the experience of a music festival and being present with each other, with like-minded folks who appreciate the same kind of creativity and artistry and community. And I think that now it's just never been more important and never been more necessary for us to be able to have that opportunity. Yeah.

So go out there. Go support all the festivals. We're back, baby. Yeah. I'm pumped up. I'm actually being the correspondent at Peach Fest. I'm going to be in the street or in the festivals. We're back, baby. I'm pumped up. I'm actually being the correspondent at Peach Fest. I'm going to be in the street or in the festival asking people, talking shit, getting people to tell us their experiences about Peach.

And I'm going to try to get that with the bands too. I think that's awesome. If you see me on the streets of the festival um come up to me i'll have a microphone tell me uh your favorite parts about peach fest so guys go to peach fest grand pennsylvania july first through fourth we got warren haynes he was uh you know anything about warren haynes oh yeah man i i i got to one of my dream moments was uh it was surreal man i did the Days Between band at Jazz Fest. But it was right a day or two after

Colonel Bruce passed. So everybody came in. It was Oteel, it was Kraz, some of the trucks, and then Warren came in and him and I got to sing Whippin' Post together. It was, and then Warren came in, and him and I got to sing Whippin' Post together.

It was like stark. Holy shit. Dude, like, I mean, a speechless moment for me. You know, like, I don't, it was like the Jazz Fest dream. Yeah, that's the best thing about festivals. Like, you know, we're all on our paths. We all have, you know, we get worked, and we move around. That's the best thing about festivals. We're all on our paths. We get worked and we move around.

And when we all get to come together and just forget about everything else and just collaborate and play music together, that's my favorite part about festivals. Because we're all friends, but we don't get to see each other because we're all on the road, touring around each other, making sure we're not competing with each other and everything like that and like making sure everybody can see everybody but uh we don't get to see each other yeah and then the festivals come around and it's i think it's the same thing for for festival goers they get to meet up with their communities that maybe they don't live in the same place but they all make the trip to the same one every year and

totally it's exciting stuff and also you know it's like even getting back to tour. Like the first week of tour, we did what? Wichita Falls, Oklahoma City, Kansas City, all sold out shows. Yeah. Like people. People are ready. Are ready. Yeah.

And I can't be more thankful that people are still believing in music to get you through times, you know? How important is music? I mean, it's one of, if not the most important to me yeah same you know so get your ass out there peach fest baby go do uh speaking about booking shows repsy you know anything about repsy lyle talk to me about repsy so you have a booking agent right now no, no. No. So this is actually a perfect, because you just left the Motet, go solo, going like Tupac up in here. Watch how we're up. I love it.

And your new songs are sounding great. Thank you. For a guy like you, I feel like Repsy would be a perfect thing because it's not inclusive. It's a booking agency, so you sign up, but it's online. So you could put your profile up And there's buyers of festivals And buyers of booking venues

And parties Who are looking for bands So you put your thing on If you don't have a booking agency They take a little bit of a percentage But if you have a booking agency So some of my bands Who have booking agencies

They do it for free So it's a win-win situation I think there should be more companies like this because you know what's what's the problem having an extra hand to help in booking especially like you know how crazy this fall is going to be everyone's going to be touring the whole time and everyone there's not going to be enough gigs so we i feel like companies like Repsy are really going to give the bands who didn't book their tours a year in advance an opportunity to at least get some gigs and start, you know, oiling up the machine. I mean, it's. Totally.

Did you feel rusty on those first couple shows? Yeah, absolutely, man. Me too, bro. I've been playing behind a computer screen for a year dude and it's so different between live streams and an audience i mean like it got me emotional absolutely absolutely just being there with people you know it's like even like the summer shows the when we were doing the pod shows and stuff, it was fun, but the intimacy wasn't there

because everyone was looking behind their back like, fuck, is this appropriate? But now I feel like as we're going through a little more time, people are getting situated, people are more relaxed, and now it's time, we're back yeah and it feels so fucking good I could cry because like I needed this oh man me too

I mean just being able to like look out from the stage and seeing people like hug each other and like be together as we're bringing this music I mean just being able to connect with somebody else I was like into a computer screen, and my girlfriend's eyes, those were basically the only things that I saw when I was singing for a year, like over a year. Dude, it's pretty amazing. Yeah. It's exciting stuff.

We have exciting stuff. We still have another week. Are you sick of us yet? Nah. We're just getting started, baby. I know, dude. We're just getting started. I know.

I mean, on Tuesday, today, when this pocket comes out, we're playing in Aurora, Illinois. Come out to that. We still have tickets left for that. St. Louis was sold out, but they just added another 100 tickets. So on Wednesday, Indianapolis on Thursday, and home of Nick Gerlach, our boy. And then Columbus, Ohio was sold out,

but they just opened up full capacity. So get your tickets while you can for this week. And then we got Peach Fest July 1st through 4th. Then I'm in Colorado doing some Avon, Colorado, Ridgeway, Colorado, Dillon, Colorado. And then we're doing a Relics Dance Party on July 17th. But I'm very excited for you guys to hear the next interviews for the next five weeks because it's all bands

that is basically a Peach Fest family. And I'm really excited and fortunate that they accepted my crazy ass into the Peach Fest family because it's so legendary. So, guys, I hope you have a good day. Do you have any motivational things you can tell our audience to have for them to have a fucking kick-ass week before we start the warren haynes interview lyle davinsky be as present as possible if you ever find your mind wandering if you ever find yourself just questioning what you're doing in that moment close your eyes take a deep breath then open open up, look around what's around you.

Find something beautiful. Find something that's around you that inspires you and take that in. What do you think is beautiful in this Motel 6 room? I'm going to go ahead and say the hot sauce next to the open bottle of Jameson with the orange backdrop of this wall right here. We treat you well over here at the Frasco Camp.

Motel 6 is... Let's fucking go. Let's fucking go. If this isn't tour life, I don't know what it is. Come on, man. That's a beautiful thing. We were talking about that, from Red Rocks to parking lots.

Yep. It's so humbling. Touring is the most humbling thing you could do because when you're not at a level when you're when you're walking the ladder get in there totally and you're not at that point where everything is crazy and huge yeah it's just so beautiful you walk up one day it's sold out next day you're playing a parking lot for 100 people dude it's funny man yeah my sister used to say when i was playing in the subway she was like yeah you're going subways to stadiums and i kind of did that which was tight and now i make the joke now i'm going red rocks to coffee shops hell yeah so now it's like but that's that's

the greatest thing whatever makes you happy and we we get to play music and we get to meet new people we get to travel around and see this and And that's the part that makes all the difference to me. So I'm looking forward to playing more music with you this week, buddy. Let's fucking go, bro. Let's fucking go. All right. We're going to have our day off now. We love you.

And enjoy the Warren Haynes interview. And I'll see you at Peach Fest. Let's fucking go. Let's go. All right. Next up on the interview hour, we have Warren motherfucking Haynes, y'all. Damn, government mule.

Almond Brothers. Yo, Chris, play some Warren. What else can I say? This guy is one of the best guitar players out there. Great songwriter, great vocalist. He's played with everyone. He's dealt with so much hardship, a lot of deaths. We talk about all of it.

I'm really looking forward for you to hear what we talked about because I felt like we really bonded, and I got some stuff out of him that I don't think has been said before. And if they have, we get to hear it twice. But I doubt it. So, ladies and gentlemen, please enjoy Warren Haynes. When the stars ain't shining bright It feels like you've lost your way

When the candlelights of home Burn so very far away Well, you got to let your soul shine Just like my daddy used to say Used to say soul shine Better than sunshine Better than ocean Damn sure better than rain We're in Haines on the show tonight. What's up, bud?

Hey, man. How you doing? I'm doing good. Where you at? I am at home and where I've been for a long time, but we'll be away from home soon enough. So things are looking up. What's it like for a dude like you who have always been on the road forever to have a year and a half off? There's obviously really positive sides to it. I've been having time to spend with my family. I have a nine-year-old son, and we've spent more time this past year and a half than we ever have, which has been awesome. I've been home more than I've been since I was 15. I know. That's what I'm saying. That sounds crazy,

but it's true. I haven't gone this long without playing a gig since I was 15. We've gradually managed to do a few and get back into the swing a little bit, but it's taken until now to get back to normal at all.

What have you learned about yourself in the last year and a half? Hopefully, to try to be more patient with everything and just kind of ohm and zen your way through life a little more. You know, like,

I've learned that I'm probably not as easy to be around as I thought I was. And I think we've all learned that. I think everybody realizes that we all need space, you know. And I've been lucky to have a lot of space in my life. And when you don't have it, you know, I'm being half kidding and half serious, but it's tough on everybody. You know, you love your family, but to be 24-7 like that is a little taxing. I know, man. That's why I've never had a girlfriend for that moment. I was waiting.

Yeah. But, you know, I think it's good to learn. Always keep growing. I mean, like, you have a nine-year-old kid. I mean, that must be, you're an older dad. Is that hard? Is that a lot of energy? But you're like a rock star, too, so fuck. You know, yeah, I was a dad at 50, which was not the norm. Yeah.

And it's wonderful in so many ways. You know, I don't have the energy that I would have had in my 20s and 30s, obviously, but I also am able to look at things a little more maturely than I would have if I'd have become a dad that early in my life, I think. You know, society has kind of groomed all of us to think that you have to be a parent when you're really young. And our parents or my parents, people from my generation, had kids at such a young age. I don't even see how you could think that was okay to have kids when you're like 18, 19, 20 years old. It just seems like it kind of diverts your life in such a profound way.

The longer you wait to do it, the more you benefit in some ways. I'm not suggesting people wait till they're 50 like I did, but it definitely gave me a lot of perspective. I'll be there right with you, buddy. That's when I'm going to start coming. But it is fascinating. It's a fascinating situation.

Why do we feel like we have to live the life that our parents lived? Yeah, I think that's true from a sense of responsibility and holding up your end and just being a solid citizen, a solid person, it's good to take those kind of cues and examples. But then, you know, we also rebel against that. So in some ways, we want to do the opposite. We want to show our parents that, yeah, that's what you thought needed to happen. But my way works pretty cool too. Was that your take on music when you were a kid? Was that your way to rebel? It was, yeah. But also I was lucky in the way that my dad, who passed away January of this year, my dad had a beautiful singing voice,

but never pursued it for a living. But he could really sing. And I think the fact that he never pursued it allowed him to have a little different perspective on my ambitions. You know, he wanted me to go the whole college route and kind of not chase music, but he also understood. So when it came time to make those decisions, he was very supportive. And so I really always appreciated the fact that he didn't try to talk me out of being a musician, where a lot of my friends, their parents did try to talk me out of being a musician where a lot of my friends their

parents did try to talk them out of it and in some cases talk them out of it like they switched switched gears and went a whole nother direction but yeah music was a way of rebelling against everything but it uh you know it wasn't just that it was also this just feeling of belonging to something that took over. And all of a sudden you were included in this magical thing that life was so much better because of. Explain that first time you felt that magical thing. that magical thing? I think the first time for me, well, there's a couple that I have what I call near visual memories of those kinds of things. One time was being, I don't know what age, four or five, maybe six, and hearing black gospel music on the radio Sunday morning in North Carolina, on the radio Sunday morning in North Carolina, regional music from the regional churches. And it was the real thing. And it hit me, it made the hair on my arms stand up,

which later on hearing James Brown would do the same thing to me. The other thing was being in my dad's car when I must have been five or six and hearing the sounds of silence, Simon and Garfunkel, on the radio. And I was too young to understand what it meant lyrically, but just the overall sound of it washed over me in a way that stayed with me. I still have these glimpses of that moment that are still with me now. Are you and your dad extremely close? We were very close. And he was a really great role model for me. He was just someone that always wanted to do the right thing.

Doing the right thing was the most important thing in his life, even if it meant more work for him. Just that basic thing of helping out people you care about or even helping out total strangers was a way of life for him. I mean, that totally makes sense. This is why you're doing, maybe that was like the roots that made you start Habitat for Humanity. was like the the roots that made you start habitat for humanity i think he definitely had a lot to do with my wanting to give back and and and feeling like uh i didn't i didn't get wherever i was without the help of a lot of people and and musicians i think when we think about it, it's really easy to give back because all we have to do is what we do anyway. It's true. Play and sing and entertain and have fun.

You know, we would do it whether we got paid or not. We would do it whether or not there was a crowd. not there was a crowd. So if you can take that for two or three days out of your life and turn it into building houses for families that can't afford it, why not? And it is that easy. It may not seem that easy on the outside, but it is. Why did you choose Asheville to do this? Well, I grew up in Asheville and I still consider it my home. All my family is still there. I moved away when I was in my early 20s and I live in New York now and have for over 30 years. But I still consider myself an Ashevillian. And so, you know, I contribute a lot to New York causes and things as well.

But home for me is Asheville. So let's talk about Asheville. Like when you're growing up as a kid, was it as artsy and was it as artsy as it is now? Or was it more a little country? Like, give me what Asheville is like when you were in your younger high school years. Yeah, it wasn't nearly as artsy and bohemian as it is now, there was always that underground lying movement, but much smaller. There was always a lot of cool musicians, a lot of cool artists, tons of bluegrass when I was growing up. And there was this underground scene that was really healthy and really hip, but it

was small. ground scene that was really healthy and really hip, but it was small. And the past 20 years or so it's just grown like crazy. Yeah, it's pretty crazy. What do you think your interpretation of why the arts came to Asheville? Was it because New York was getting too expensive, or what do you think? I think there was a combination of things. There were a lot of small towns in the South that were kind of rejuvenating themselves. Brew pubs springing up, independent restaurants, independent record shops going back to before that started drying up. There was a lot of mom and pop stuff happening and people were really into being self-supportive

and community oriented and community supported. And Asheville was kind of the perfect place for it. It's a little more or a lot more liberal than the rest of the state. It's kind of like what Austin is to Texas, you know. So it made sense. People started gravitating there because it's a beautiful place geographically. The people are really friendly. When I was growing up, there were no good restaurants. And now there's hundreds of great restaurants. So it's kind of just been an organic process. And speaking of organic, I think that's a big part of it, too.

There's a huge eco-friendly, green, organic kind of vibe there. And that attracts a lot of people, especially artists and musicians. a lot of people, especially artists and musicians. It's beautiful to see a town like that have an art movement like this. And especially through quarantine, I guarantee more people from the city are moving to cities like Asheville just to feel at home a little more in their heart. Yeah. And you can also get outside. You can be up on the Boone's Parkway in 15 minutes where there's nobody.

You know, you can get away from even the small town folks that are there. It is beautiful to see that happening. And I think we're seeing that more and more when I travel around these days. We're seeing that more and more when I travel around these days. A lot of towns, especially in the South and in the Midwest as well, that were kind of ghost towns when I went there 15, 20, 30 years ago. Now they're thriving and they have this whole young vibe that's going on. It's really cool. It's beautiful. Before I talk about your years in the city, I want to talk a little bit more about what was your relationship like with your mother? My mom and dad were divorced when I was seven.

And my dad raised three boys, which was kind of unheard of at that time period. I was the youngest, so I was super close to my mom, and my dad worked all day, and my two older brothers were in school, so it was just me and my mom all day long, and then one day she was gone, and I was raised by my dad from that point forward. She stayed in my life and we're still close and I'm closer to her now than I probably have been since I was a kid. But there were a lot of years, decades where our relationship was much more of a casual one than it was with my dad, so to speak. Yeah. It must be hard. I mean, I could tell you're

so intuitive and sensitive. How does it feel to not have a mom? Well, and a lot of that came from her because she's an extremely intuitive, sensitive person. She's very shy. She's very emotional. She's very tapped into other people's feelings. And a lot of that sensitive side I got from her. And then to have that kind of taken away, I think, forced me, well, truthfully, even more into music. I think that was a lot of the reason that I went so heavy into music is because I needed something in my life to kind of fill that void. Yeah. You know, it's, and it must've been hard. Like, you know, it's like those first six years, like it's, it's,

I don't remember anything when I was four or five or six. You have a great fucking memory. I only get spots, little tiny spots. Yeah. But you know, it's like, Well, I only get spots, little tiny spots. Yeah, but those are important growth points of who we are going to be as a person. And it's not after having such a great relationship and then all of a sudden disappeared, you felt like it was your fault? I guess I did early on. And I didn't have a real sense of everything that was going on at the time. They shielded me because I was so young.

They shielded me from all the gravity of what was really happening. But, yeah, I think any kid's going to kind of blame themselves in that sort of situation. And I know that both my dad and my mom spent a lot of time trying to explain to me that it wasn't my fault. And that helps, but it only goes so far. So there's going to be some sense of guilt that travels with that. Have you written any songs about this? about this? Yeah, I have. I mean, a lot of the writing that I do is therapeutic,

and a lot of it stems from stream of consciousness, kind of 3 a.m. writing down a bunch of lyrics and going back later and doing a lot of editing and deciding what stays in uh what what gets left out um and i think on my album ashes and dust which was more of a folky type record uh that probably included more stuff uh that that taps into that side of my past than any of the other records. Although there's glimpses here and there. There's a song on Ashes and Dusk called Company Man that's 100% about my dad. Every word of it is about my dad.

And it took me years and years and years to get up the courage to record it. And he heard it before he died and really liked it a lot. But we never really talked about it because it was a very honest assessment of him. And, you know, like I say, in a lot of ways, my dad was my hero, but he also, uh, like any human being had parts of, uh, his relationship with us that could be very frustrating, you know, and, uh,

and starting with the fact that he, he never, he never remarried. Once my mom left, my dad just kind of made this old school commitment to never getting into another serious relationship. And my brothers and myself always wanted him to, which is kind of the opposite of where it starts out a lot of times. You don't want your parents to remarry. But through the years, you just want them to be happy. And I think in that way, he never was. So do you think he just was filling the gap? It's kind of hard.

I mean, your father just passed away, technically, half a year ago. How hard is it to like see your super your superheroes pass it's still sinking in you know uh i still wake up some days thinking he's he's still here and i can call it you know um and some days i wonder why it hasn't hit me even harder than it has. And then some days it just floors me. So I think our brains are kind of designed to keep out a lot of the stuff that can really bog us down. And so there are some aspects of the psyche like that that we don't have any control over, you know, and I'm very thankful for the fact that when something happens as major as losing a loved one, and I've lost a lot in the past few years, we're shielded from the flood of emotions that eventually is going to catch up with us. Totally. It's like everyone needs the more no matter what. I mean, you've been so persistent through tragedy. I mean, you've had the death of Dwayne, Barry, Lamar, Butch. It's like,

how do you keep going through all death? What's your take on death? keep going through all death? What's your take on death? Well, I was lucky in the way that I never lost any close relatives when I was really young. I think that's got to be really hard on a kid. And I guess my dad helped prepare me for those sort of losses in some ways. But I lost one of my closest friends at an early age. I say early. I was 33, but he died a really tragic death. Who was it? My friend Ronnie Bergen, who I grew up with,

he and I were thick as thieves. He was a great musician and a great friend. A lot of people thought we were brothers when we were kids. And he was stabbed to death when he was

34 years old. And he was kind of on a downward spiral. Anyway, he was 34 years old and he was kind of on a downward spiral. Anyway, he was, he was having really hard times with his life. And he was challenging every relationship that he had pushing people to the brink. And most of his friends had either turned their back on him or threatened to turn their back on him or threatened to turn their back on him and then in the midst of all this drama and confusion uh i get the call that that he was

stabbed to death and and uh when something that graphic and that surprising happens, you know, it's not like he had cancer. It's not like he was in a car wreck. He was allegedly murdered. God damn it. And that is something that kind of, that's the first thing I think that thickened my skin to the point that my brain wouldn't let me think about it for a long time. Did you mourn that? Yeah, I went to his funeral and I wrote a song, several songs, but there's a song on Ashes and Dust called Is It Me or You? And it's written as if it were a one-on-one relationship between a man and a woman, but it's really about me and him.

And I disguised it that way so it wouldn't be such a graphic, obvious sort of lyrical take, you know. uh, lyrical take, you know, but it's still, you know, I still have dreams where he's there today. I had one within the past month and this is, was 1993. Man, it's gotta be heavy. I mean, and then to experience death in your work relationship too and it's it with that sense of hardening it's emotions got to be hard for you well you know choosing music as a profession meant two really poignant things uh for me one uh by happenstance i was the youngest person in virtually every band I was ever in. Up until I joined the Allman Brothers, I was always the youngest member. And I was the youngest member then until Mark Quinones joined and he was younger than me.

And then eventually Derek Trucks and Oteel. eventually Derek Trucks and O'Teele. But being the youngest in every situation kind of teaches you in a different sort of way because people want to be protective and take you under their wing and share their experiences with you. The other thing that I think that was very poignant about making that choice is obviously the lifestyle that goes hand in hand with a lot of musicians, you know, and it's not a coincidence. People choose music or music chooses them because of the emotional situation that they're dealing with. music is a way of coping. And it does help.

It's the most therapeutic thing in my life, without question. But if we're going to surround ourselves with artists and musicians, then we're going to surround ourselves with turmoil that comes with that and inherit other people's life problems, you know? And so it's part of it on one hand. On the other hand, you know, it's a lot to deal with. In the past few years, mostly because of how much younger I am than the rest of the guys, I've just lost a lot of people. Yeah. I mean, it's got, I mean, I interviewed Chuck last week.

We were talking a bit about this and how the going through that and like what being the youngest guy in your group, like what's your take on addiction and depression? My first response would be, I think it's really important that society is finally starting to deal with it in a manner that

acknowledges treatment as opposed to punishment. And I think the first thing we have to do as a society is accept and embrace everybody for what conditions they're battling. And as far as addiction is concerned, people need help. They don't need even more pressure of possibly going to jail or possibly being ostracized from their workplace or, you know, all the things that come along with being an addict, you know? And as far as depression, knowing so many people that have battled it, it's one of those things that, you know, we're making progress, but it's still the tip of the iceberg. You know, I have family members right now that, that can't land on the right medication, you know, and technology is getting better. Medical science

is getting better, but we still haven't really cracked the code for how to deal with people's depression. Sometimes the ongoing process is even worse than the depression itself. Yeah, it's the stigma that's worse. In different countries, they treat depression and addiction as a mental illness, and they find help for people. I feel like this country is a little backwards on that a little bit. Yeah, I agree with that, and that's what I was saying is we're finally starting to catch up. Yeah. But it's too little too late.

But, you know, but no time like the present. You know, I'm seeing a lot of progress. And of course, that goes hand in hand with like legalization of weed and stuff like that, that we see some countries experimenting with legalizing all drugs and seeing addiction go down and the crime rate go down. In this country, money controls the decision making even more than it does in most countries. And of course, everybody knows money is power. Money controls a lot of the decision making worldwide. But in America, even more so. corporations are making decisions on whether or not we're doing the right thing about dealing

with addiction and mental illness and legalization of drugs and and you know the whole privatization of prisons to me is one of the biggest scams of the past several decades i agree like what the fuck is that all about it It makes no sense to me. It just, if you explain it to someone in five minutes that you're incentivizing putting people in jail, you're telling people, hey, you'll get paid more money if you bust people. Yeah.

You know, it just seems obvious that, oh, then let's bust more people you know have you ever been in jail i went to jail one time on christmas eve what happened uh i got busted for weed in ashville oh man and and uh it was right after i had done the christmas jam the the the big charity show that I do there. That was a much smaller event at that time. This was a long time ago. But I got busted for weed and they took me to jail and I had to spend Christmas Eve in jail because they said because it was Christmas, they couldn't get anybody to come out and deal with me like a magistrate.

They couldn't get a magistrate to come down and deal with getting me out of jail. And I said, isn't that the reason to let me go? Like it's Christmas. I had a small bag of weed oh what about just saying okay merry christmas be on your way did you have to miss any gigs you just missed family time no i didn't i i i was supposed to fly to uh my girlfriend's house the next day who is now my wife um and she had to make up an excuse to her parents why i missed my plane or whatever because i got there a day late but yeah i only spent the one the one night in jail and then uh woke up and my brother bailed me out of jail and i was starving and the only place open was Pizza Hut. So I remember Christmas day going

to Pizza Hut to get some terrible slice of pizza and then going and getting on an airplane. Oh my, well, shout out to your brother. Shout out to your brother. Getting you out on Christmas day, buddy. What's your relationship like with your brother? You have a good one? I have a great relationship with both of my brothers and they're both fantastic people. My brother, Brian, who I was just referring to, ran for city council just recently and won and is a big positive influence in the community now. influence in the community now. He is taking a year too often, and I think he's going to probably run again, and I'm sure he'll get elected again. My oldest brother is someone that I've just always learned a lot from. They're both wise beyond their years, and they're both, learned a lot from. They're both wise beyond their years. And they're both, you know, I get accused of being shy sometimes, but I'm the most outgoing of the three of us. They're both shyer than I am.

And but big positive influences on me. And again, I guess I can't take that for granted because it never dawns on me. You know, some people don't like their parents. Some people don't like their siblings. And I happened to be someone who was fortunate enough to not be in that situation. That's beautiful, man. You know, like going back to like the dark times in your life, like what was the hardest, what was the hardest part of your career?

You think, you know, any years that were the hardest for you? the hardest part of your career you think you know any years that were the hardest for you um you mean once i chose music as a profession yeah yeah yeah um i guess when i moved to nashville uh of course everybody in north carolina in Asheville, just assumed that I was doing great because I had left town and had moved to Nashville and was at that time thinking I wanted to break into the scene as a studio guitar player. I was 23 years old. And, you know, it was an experience and I learned a lot from it. It was very challenging. Um, but we were so broke that at one point we had six people living in a three bedroom house. Holy shit. Uh,

one person's sleeping in the van and their van in the driveway. We had another person sleeping in a bed in the attic, like sleeping on the couch. And we still were like months behind on our rent. And thankfully, we had a landlord that would let us slide and didn't hold it against us and would say, hey, I like you kids. And when you get the money, you pay me, you know know and that's kind of unheard of today too you know yeah it's crazy i mean like have you ever almost quit giving up on yourself uh i never almost quit music i i've changed directions a few times i when i thought i wanted to be a studio musician after two or three years of

doing that. And when I was started three or four years in thinking that I was actually making some headway and starting to get a lot of work and make a lot of connections and actually get some respect in the music community there, I thought, you know, this is just not for me. That's not what I want to do. I got to be in a situation where I'm doing my music, whether it's in a band where I'm the singer and the songwriter or one of the singers and one of the songwriters or a solo artist or something. I just can't keep doing other people's music. And, you know, I don't know how I ever thought that I could. Yeah, you know, it's like, you know, Chuck has the same kind of story

where, like, he was a session guy and produced and stuff. I was wondering, like, Allman Brothers know how to pick young talent. Did you ever? Chuck was 22 when he played the piano solo in Jessica. That's insane to me. Yeah. Chuck was 22 when he played the piano solo in Jessica. That's insane to me. Yeah. You know, I mean, I think maybe because the Allman Brothers, from the beginning, I mean, the band in 1969,

when I was nine years old, my oldest brother had the first Allman Brothers record, and I was exposed to it and loved it from the very beginning. That was before I ever picked up guitar. I had already started singing, and I loved Greg's voice. But in the next couple of years, I would start getting enamored with guitar. And so the Allman Brothers became a really big thing for me. Live at Fillmore East came out when I was 11. I just started playing guitar. So that music made a huge connection with me because it's like, it's an odd combination.

It's musician's music in the way that it's on a higher level of musicianship and a lot of musicians love it, but it also connects with the average person. And for something to do both of those things is pretty rare. Yeah. I think it's because of how honest the music is. It's totally as honest as it gets.

And so in the same way that they hired Chuck when he was 22, when they hired me, I was 28. They were open to the fact that the band needed for all cylinders to be firing all the time. It could never be one of those bands that had the original guys up front and the new guys in the back. It had to be a real band with everybody on it. that had the original guys up front and the new guys in the back. Yeah. It had to be a real band with everybody on it.

And so I think that's why it worked. When myself and Alan Woody and Johnny Neal joined the Allman Brothers in 89, we were expected to deliver musically as if we were equal partners, you know, and, and that's what made it work. We were never considered sidemen in the band from a musical standpoint. And so being allowed to come in and write songs and sing and, and arrange and all these things. And one of my favorite bands of all times was just an unbelievable confidence builder for me.

Yeah, and it's like having such the dream gig. What decided you and Alan to start Government Mule? Alan and I used to share a bus with Greg, and the three of us did a lot of just traveling the world and listening to music and laughing and what we called the fun bus because the other bus, no music. Everybody was reading a book. Not that there's anything wrong with reading a book. I don't want to get any shit over that. You won't, you won't.

But believe me, I enjoy reading as much as anyone. But we were partying. We were playing music loud and proud and having fun and making each other laugh, which is a wonderful way to travel down the highway. And so when one day or night we're listening to Cream or the Hendrix Experience or something, and Woody said, man, nobody does that anymore. And I knew what he meant. He meant this improvisational trio where it's just guitar, bass, and drums, and they're

just jamming up a storm. Nobody was doing that. It was kind of a missing part of rock music at that time. And he said, you know, me and you and the right drummer could do that. And I said, yeah, Mad Apps, me and you and Mad Apps could do that. And we were just talking about as a side project, you know, let's go make a cheap record and maybe do a 10 city tour and be done with it. We never thought it was going to be something that would last much beyond that. But it did. It grew into its own thing.

And so eventually, as Government Mule was gaining more and more steam and we were enjoying being around each other and writing and recording and rehearsing the almond brothers camp was starting to uh lose excitement over all those things all the original members were having trouble getting along again so it just for us the balance started shifting more and more toward mule and less toward the Allman Brothers. Yeah. So, you know, you share, you share a bus with Greg. He's got to be hearing these conversations. You guys wanted to go do your own thing a little bit. What was, what was his take on this?

Oh, he, he was very supportive. Always was. Greg always was about doing his own thing too. He wanted everybody to understand that he needed an outlet for his music that wasn't necessarily Allman Brothers music as well. So we were always having those conversations in the beginning, not thinking that we would have to make a choice, but that we could do both and juggle both things. Greg actually picked the album cover for the first Mule cover. Really? We were looking at all the photos on the bus. We had them spread out on the table in the front

lounge of the bus. And Greg pointed and went, that's your cover right there. And Woody and I looked down. He's like, yep, you're right, man. Let's fucking go, dude. Oh, what did Greg teach you about life outside of music? You know, a lot. I mean, what he taught me about music, most of it I learned before I ever met him because I was such a big fan and I studied his music so much prior to meeting him. And I met him the first time we played together, I think it was 1980 or 81. And I met him the first time we played together, I think it was 1980 or 81. But once I got to know him as a person, one of the things that I learned was not to rush the process.

You know, he knew how to step away from things and give them perspective. And especially like writing songs like when i would go down to his house and we would write together whenever we would reach a fork in the road where we weren't exactly sure what to do you know i'd want to take a 15 minute break and come back and and finish it and he'd be like no let's let's let that one go for a while we'll come back and finish it. And he'd be like, no, let's, let's let that one go for a while. We'll come back to it in a few days or something, you know, and, and he proved to be right. You know, when we, when we would come back, it would be obvious what we needed to do. And, you know, he would make small changes, little subtle changes right up to the last minute.

Even if we were recording, like as an example, when we wrote this song called Old Before My Time, and I had written the majority of the lyrics, but based on his original idea that he wrote that I found sitting on his piano. And so I wrote most of it while he was asleep showed it to him the next day and he loved it and we took it as far as we could and then we were ready to record and we were actually doing the vocal overdubbing the vocal and we got to the bridge and he's like man this bridge always bugged me we gotta we gotta change this bridge

what do you mean and he's like this line here we should go to a different rhyme scheme it should not be the same rhyme scheme as the rest of the song and i was like oh okay and then a minute later we had a new bridge and he sang it right then. And that was the record. Like, you know, it had been turning around in his head for six months. He just hadn't figured out exactly how to change it. Is he obsessive like that? Are you obsessive like that too? Yeah, I think we all are in different ways, you know.

Yeah, I think we all are in different ways, you know. And with him, you know, he's more obsessedwriter, the words you write, they're just part of a song up until the moment the person singing them has a personality. But at that moment, they're words to a song coming out of that person's heart and soul. So if I wrote a song or we wrote a song together and there was one line that he didn't feel like represented him as a human being, then he would want to change it and he would want to find some subtle way of making it feel right for him. And he also told me early on in our writing relationship, a line can be a great line, but it has to sing good. So sometimes the meaning of the line was not quite as important as the way it sounded coming out of your mouth. And so sometimes we would sacrifice a better lyric

for a lyric that sounded better. And I knew exactly what he meant by that, you know, and and I knew it before he told me. But once he told me, I made the connection and went, yeah, I know exactly what you mean by that. So sometimes we would take a line and he'd go, I gotta be able to sing it as if I'm just talking to you. And that made a big impact. I mean, that's, fuck.

I mean, what are the difference of the lessons you learned or the memories you've had being on the road with Greg versus David Allen Coe? Well, David Allen Coe, I was super young and thrown into this world that I knew nothing about. Were you like a good kid?

And then all of a sudden you get into this fucking curveball of a life? You know, and from a career standpoint, it was a step up and I needed to do it. And I learned a lot musically too, because prior to that, I'd never really played country music. I didn't know much about it. I didn't know anything about his music. And it kind of forced me to learn a whole nother side of music that I'd never dealt with before. But the lifestyle and that whole scene was so different for me. From the very beginning, it was quite daunting and challenging.

What was the hardest part about it? You know, I guess the hardest part about it was that a lot of the people that were on the road with us back then were kind of living in the past from a standpoint of looking at the world through a diverse point of view. Let's leave it at that. Yeah, yeah. It was tough for me to deal with. And I watched a lot of those people change through the years for the positive. And, you know, I give credit where credit's due, you know. Yeah.

But it was hard for me. but I did learn a lot. And it was through him that I met Greg Allman and Dickie Betts. And so he gave me that introduction. And Dickie Betts gave me the biggest career break of my life. What did you see in Dickie Bits that made you say, all right, I think it's time to move on with David? Well, some time lapsed in between.

When I, in late 83, I decided that I didn't want to tour with Co anymore and that I wanted to move to Nashville and start being a studio musician and so it was through all these doors that had opened during that time period that allowed me the opportunity to do that. I'd made a lot of connections, and Nashville was only five hours away from Asheville, so it made sense. Then, I guess, a couple of years went by,

and Dickie Betts, who I had played with a few times through the years, but he had always kind of taken me under his wing as a young kid and always treated me great. He was making a record somewhere around 87, and I got called to sing background on his record. Yeah. And so I showed up for the session, and I think he didn't know that I was going to be there,

and it just kind of rekindled this on-again, off-again relationship because we lived in different cities. But I walked in, and he said, Hey, what are you doing here? And I was like, Oh, I got called to sing harmony. And he said, Oh, great. He goes, you got a guitar. And I said, no, I don't actually. And we both laughed, but he, his bass player had been kind of pushing for me to join their band. Who was that?

Marty Prevett. And So the band at that time, Marty Prevett was playing bass and Matt Apps was playing drums. And so Marty had been pushing to get me in the band. And then when I came in to sing Harmony, I think it kind of lit a light bulb above Dickie's head. Oh, yeah, maybe this is the right time to make a move. Because truthfully, he was recording an album that was a little too Nashville, a little too produced, a little too country.

Yeah. And he didn't like it. And so a few weeks later, he called me up and said, hey, man, I scrapped that album that we were working on. He said, it's just, it wasn't me. He's like, it was too produced, too Nashville. He said, what do you say we get together and write some songs and make a rock and roll record?

And I was like, yeah, man, I'm in. Oh, my God, dude. Isn't it amazing how life just does that sometimes? Yeah, it is, because I thought that when I was singing these songs, I remember thinking, this doesn't sound like Dickie Betts to me. Dickie Betts, I know, was this fantastic guitar player, singer, songwriter that was part of one of the greatest bands of all times. And I've followed everything he's ever done. And this just doesn't feel right. But I wasn't going to say that to him. Young Buck coming in there. I didn't know him well enough to say that to him young buck coming in there you know i didn't i didn't know him well enough to

say that to him yo dicky this record sounds like shit no you can't say that but he but he knew it he called me up and said hey man uh it just it just didn't feel right uh i'm scrapping it and i thought that's a really bold intelligent move to make So what was the first song you wrote together? When you got in the room, what was it? The first song we wrote together, I believe, was probably Rock Bottom, which was in him and Johnny Neal. And it wound up being a single from Pattern Disruptive, the Dickie Best Band record that we all made together. from Pattern Disruptive, the Dickie Betts band record that we all made together.

And we wrote several things during those early writing session days. We wrote Time to Roll, which I wound up singing for that record. We wrote Stone Cold Heart. Crazy, Warren. It's so crazy dude But you know Time was just flying by At that point You know So now I was

Playing with Matt Apps The drummer in Dickie's band And then That's what led me to going back to the conversation on the bus with me and Woody, thinking of Mad Apps to be the drummer in Government Mule was from that experience. You know, he was such an amazing player in that kind of format, you know, in a trio, he was just devastating. Uh, and I remember Dickie talking about all the different drummers that he had

had. Uh, but he said, Matt's the only one that sounded like two drummers at the same time. Really? Oh, dude, Dickie. It feels like Dickie's the one who really kind of like was your he was rooting for you right from the beginning he gave me the biggest breaks of my career without question and and was always

just super kind to me and accommodating like made a point of kind of getting me the exposure that he felt like I deserved. Did you feel like you had that same relationship with

Alan Woody? Right away you knew you guys were going to be just fucking teammates? I think it wasn't instant, but it didn't take long. We became soulmates, brothers. You know, a lot of it was sense of humor. Woody's sense of humor was deadly.

He was one of the funniest people I ever met. And so there was just this constant barrage of making each other laugh. And he he made an art form of of making the people around him laugh. And I think that was like one of the most important things in his life, you know, and he was such a fantastic musician. most important things in his life, you know, and he was such a fantastic musician. Those were really, you know, kind of the driving forces in his life. And so our bus would be laughing and listening to music and playing music and writing music. And, you know, it was an experience. And, you know, it was an experience. And, you know, Woody and I traveled the world together.

It was such a devastating blow when he passed. And I just, you know, he was a larger than life presence. And we talk about him all the time.'s never never a day without an alan woody story yeah you know it's like how do you tell someone who's in your band did you start seeing you know i've been in a band now for 13 years or something and how do you tell a bandmate when you know there's a life of the party or you know you start seeing him spiraling down to something that isn't supposed to be? It's a hard thing because I've been in situations where bands had to do interventions on people and force them into rehab. I've been in situations where it was more of a personal behind the scenes thing where bands had to tell people privately, you got to clean up in order to keep your gig.

I've been in bands where nobody did anything and we watched people go completely off the deep end. Unfortunately, it's this lifestyle that is part of what we do. And you never know what to do because you're talking about adults that can't be told what to do. You can't treat adults like children. They, you have to find a way of, of, of bearing your soul without it being threatening, but at the same time, being able to make them understand what the possible outcomes are. And it's, you know, it's kind of difficult to put into words, but I've definitely been in situations where

I felt like somebody should have done something sooner and we watched somebody spiral accordingly. Yeah. Do you regret not talking about that to him? We talked a lot and Woody was actually on his own accord planning to go into into rehab and and died before he did. And that was that was really painful, too, because everyone around him had kind of told him this is something that's got to happen. And but, you know, again. It's it's an adult decision and he had he had reached it and had made it. And unfortunately, didn't make it to that day.

Man, I mean, the idea that he's starting to change is at least promising that he was trying to figure it out. So that's good. Yeah, he had a daughter who was three years old at that time. And that was, I think, the major change in his life. He wanted to be there and be fully present for her and her life. And I'm sure, speaking for him, which I can't do, that would be his biggest regret. Yeah, I feel that. Man, Warren, we've been talking about your life,

and we've been talking about the past, but I want to talk about right now. What are you writing about right now? What's in your head? What are you writing as a songwriter? What are you going through in your head that you're trying to let out? Well, you know, government mule just went in the studio and recorded a ton of material let's go and that's all i'm talking about and uh a lot of it it was stuff that i've written in the last year and a half uh i also wrote a lot

of stuff that won't wind up being government mule material or wind up being something for a solo record or some other project. You know, it wasn't a conscious effort, but I found myself writing less about the obvious trappings of COVID and quarantine and all that, and more about the universal need for everybody to come together. And speaking for myself, to open myself up to the changes that maybe have remained hidden up until now, but now need to be dealt with. A lot of it has to do with the world being, everybody being in it together and, and kind of getting on the other side of this in a positive way. I didn't want to write a bunch of dated COVID songs.

So I wound up writing a lot about personal relationships, about kind of things that are more general, friends and family and love and betterment and just what you can do to make it a better place. But it's hard to describe songwriting. You can say something in a song that you can't say describing the same song. You know what I mean? I feel like there's a lot of

me intentionally tackling perspectives and aspects of my life that I've neglected. Yeah. And making a point of writing about different subject matters and not getting bogged down in darker versions of the same things that I always write about. Yeah.

And, you know, it's like, I think about that too. You know, like I have this like Freudian thing where like I need to be mothered even in relationships or in management or whatever. Do you, you know, Steph, you're manager and stuff in a sense. Like, do you feel like that's like you, you've always needed to be mothered your whole life? Uh, I guess it kind of, it's kind of an odd combination of needing that and not wanting it. Yeah, I get that. You know what I mean?

Yeah, totally. And I still don't really know what the balance is. I have this need to also be left alone and deal with my own thoughts and my own devices, you know, and to make my own way. But I don't I don't want to be forced into that either, you know? So it's, it's, it's that finding the right balance of what you need in life, you know? Um, because one of the things that I learned from not being around my mom for so many years was that I got to take care of myself. I got to, you know, I don't have someone to depend on at the time, sometimes when you really, really need it. And so it forces you to reach down inside yourself and be able to comfort and console yourself in a way that maybe you didn't know existed. And that's, and I love hearing that because there's never not enough time to grow and learn about yourself, right? Like even if it took this fucking quarantine for you to be chilling at your

house in New York to learn things you never learned about yourself. Absolutely. Yeah. No question about that. And I think it was a big learning experience this last year and a half for all of us. But speaking for me personally, it was a huge learning experience. And I hope that we all go into the future with more perspective and more understanding and more patience. Yeah. I really think that. That's beautiful.

You know, this is supposed to be a podcast about Peach Fest, but we really got into it. And I'm thankful that, you know, we've played a few times. I know you play with everyone, but we played together a few times. Yeah, I remember. Hear your story. And, you know, it's like, I lived on the road for so long because of guys like you, Warren, who've lived on the road for so long.

And if you guys can do it, I felt like I could do it as well. So I just want to clap it up for Warren fucking hands right now, baby. My man. You know, so they don't fire me from interviewing people about Peach Fest. Give me a memory about Peach Fest before we leave.

Well, I've played to my knowledge. I've been part of every one of them. I know. It's whether it was with all the brothers with government mule, uh, as a solo performer, uh,

Grace Potter and I did a duo, uh, government mule actually did dark side of the mule there, which is very rare. I used to do this thing called Wake Up with Warren, where I would be doing a solo set way too early. Some people called it Hungover with Hanes, I think. But I have so many fond memories. You know, doing the Dark Side of the Mule there was really, really fun for me.

I thought it connected in a way that it was just like the right thing at the right time. It was, you know, peach fest goes all over the place. And that's one of the things that I love about it. It started out as an Allman Brothers thing and never strayed too far from the spirit of that but each year would get a little more uh it would reach out into a little further directions you know uh but when we did the dark side of the mule it was like this moment where the audience and the band shared something that was just right place, right time. But I have really emotional memories about some of my solo sets there, getting teared up sometimes early in the morning doing these emotional solo acoustic sets and stuff.

So many wonderful moments from Peach Fest and so many jams where somebody asks you to get up and play and it just all comes together. That's kind of what it's all about, right?

The collaborations that happen unscripted. I think that's such a big part of it. Oh man, Warren, what a life. And I can't wait to see what you do for the rest, you know, for the next 40, 50 years, because you're, you are honestly, you're an inspiration to a lot of people and I'm looking forward to seeing what you write and how you approach what you've learned through COVID. And it's really special.

And I'll leave with this. What do you want to be remembered by, Warren Haynes? Doing my best. Fuck yeah. Thanks for being on the show, Warren. I really appreciate it. My pleasure. Good to see you.

Good to see you too, buddy. Have a great day. Bye-bye. And there you have it. That really appreciate it. My pleasure. Good to see you. Good to see you too, buddy. Have a great day. Bye-bye. And there you have it. That was fucking tight. Um, holy shit. We got heavy. We got deep and we got inspired. Um, wow. That was great. All right. I'll catch you on the tail end. Now a message from the UN. I got so high that I saw Jesus. He said it's all gonna be okay.

You just need me in your heart. Tennessee whiskey and love. I got so high That I saw Jesus Yeah they talk about The rivers running dry Pretty soon There won't be any water Left to turn to wine

Like a drunkard at the wedding Blindly raising Armageddon So I'm getting high I got so high that I saw Jesus He said it's all gonna be okay You just need me in your heart. Tennessee whiskey and love. I got so high that I saw Jesus. Yet Joseph lost his job to a machine. Mary lost her mind to lines of code that you can't see And if the angels are the AI

I'm gonna burn this whole thing down Well, I'm gonna burn one down right now I got so high that I saw Jesus. He said it's all gonna be okay. You just need me in your heart. Tennessee whiskey and love. I got so high that I saw Jesus. I got so high that I saw Jesus. I got so high that I saw Jesus.

And there you have it. Wow, what a fucking interview, right? Fucking Warren being vulnerable with the frasco. I'm fucking jazzed up about it. I hope you are too. But that's it, guys. I am going. This is my day off.

I'm going to go to the baseball game. I'm going to, we're going to go to, are we going to Hibachi today? Oh, we're going to Hibachi. The whole gang, we worked hard last week, and we're going to celebrate on our only day off we have. So you take care of yourselves. Take care of your minds. If you feel like you're ever burnt out, take a step back and realize you are in control. No one else is in control.

You are in control. So keep that optimism going. Keep the vibes right because at the end of the day, no one else is going to live the life that you are. So don't be worried about what other people think about you. And don't be worried, like Lyle said, it is the year of say no. That is our motto. If you don't want to do anything you don't want to do, just say no. I love you. Be safe out there. And I will catch you next week for another fucking banging interview and peach fest. Peach fest, baby.

Let's go. Bye, guys. Love you. You tuned in to the World's Health Podcast with Andy Fresco now in its fourth season. Thank you for listening

to this episode produced by Andy Fresco, Joe Angelo and Chris Lawrence. We need you to help us save the world and spread the word. Please subscribe, rate the show,

give us those crazy stars, iTunes, Spotify, wherever you're picking this shit up. Follow us on Instagram at World Saving Podcast for more info and updates. Fresh Coach blogs and tour dates you find at andyfreshcoach.com and check our socials to see what's up next. Might be a video dance

party, a showcase concert, that crazy shit show or whatever springs to Andy's wicked brain. And after a year of keeping clean and playing safe, the band is back on tour. We thank our brand new talent booker, Mara Davis. We thank this week's guest, our co-host, and all the fringy frenzies that helped make this show great. Thank you all.

And thank you for listening. Be your best, be safe, and we will be back next week. No animals were harmed in the making of this podcast as far as we know. Any similarities, interactions, or knowledge, facts, or fake is purely coincidental.